"In 1954, Saul Steinberg, who created nearly ninety covers and twelve hundred drawings for The New Yorker over sixty years, made a drawing for the Tenth Triennial of Milan, a design and architecture fair. The drawing was called "The Line," and that's what it was: a single line spanning ten metres and twenty-nine panels that unfolded like an accordion. From this line, Steinberg gave rise to multitudes: laundry hanging out to dry and cities reflected in a river, women playing guitars, swinging chandeliers, and, of course, his famous cat. In Milan, the drawing was enlarged and incised into the wall of a trefoil labyrinth." (><)
